二十世紀(jì)英國戲劇

前言

　　北京大學(xué)出版社自2005年以來已出版《語言與應(yīng)用語言學(xué)知識系列讀本》多種，為了配合第十一個五年計劃，現(xiàn)又策劃陸續(xù)出版《21世紀(jì)英語專業(yè)系列教材》。這個重大舉措勢必受到英語專業(yè)廣大教師和學(xué)生的歡迎。　　作為英語教師。最讓人揪心的莫過于聽人說英語不是一個專業(yè)，只是一個工具。說這些話的領(lǐng)導(dǎo)和教師的用心是好的。為英語專業(yè)的畢業(yè)生將來找工作著想.因此要為英語專業(yè)的學(xué)生多多開設(shè)諸如新聞、法律、國際商務(wù)、經(jīng)濟、旅游等其他專業(yè)的課程。但事與愿違，英語專業(yè)的教師們很快發(fā)現(xiàn)，學(xué)生投入英語學(xué)習(xí)的時間少了，掌握英語專業(yè)課程知識甚微，即使對四個技能的掌握也并不比大學(xué)英語學(xué)生高明多少，而那個所謂的第二專業(yè)在有關(guān)專家的眼中只是學(xué)到些皮毛而已。　　英語專業(yè)的路在何方？有沒有其他路可走？這是需要我們英語專業(yè)教師思索的問題。中央領(lǐng)導(dǎo)關(guān)于創(chuàng)新是一個民族的靈魂和要培養(yǎng)創(chuàng)新人才等的指示精神。讓我們在層層迷霧中找到了航向。顯然，培養(yǎng)學(xué)生具有自主學(xué)習(xí)能力和能進行創(chuàng)造性思維是我們更為重要的戰(zhàn)略目標(biāo)，使英語專業(yè)的人才更能適應(yīng)21世紀(jì)的需要.迎接21世紀(jì)的挑戰(zhàn)。　　如今，北京大學(xué)出版社外語部的領(lǐng)導(dǎo)和編輯同志們，也從教材出版的視角探索英語專業(yè)的教材問題，從而為貫徹英語專業(yè)教學(xué)大綱做些有益的工作，為教師們開設(shè)大綱中所規(guī)定的必修、選修課程提供各種教材?！?1世紀(jì)英語專業(yè)系列教材”是普通高等教育“十一五”國家級規(guī)劃教材和國家“十一五”重點出版規(guī)劃項目《面向新世紀(jì)的立體化網(wǎng)絡(luò)化英語學(xué)科建設(shè)叢書》的重要組成部分。這套系列教材要體現(xiàn)新世紀(jì)英語教學(xué)的自主化、協(xié)作化、模塊化和超文本化，結(jié)合外語教材的具體情況，既要解決語言、教學(xué)內(nèi)容、教學(xué)方法和教育技術(shù)的時代化，也要堅持弘揚以愛國主義為核心的民族精神。因此，今天北京大學(xué)出版社在大力提倡專業(yè)英語教學(xué)改革的基礎(chǔ)上。編輯出版各種英語專業(yè)技能、英語專業(yè)知識和相關(guān)專業(yè)知識課程的教材，以培養(yǎng)具有創(chuàng)新性思維的和具有實際工作能力的學(xué)生，充分體現(xiàn)了時代精神。

內(nèi)容概要

本書作者力圖描摹那發(fā)生在昨天英戲丹青上的跌宕起伏，和讀者一起坐觀云卷云舒，共仰那高過云端的一片燦爛。二十世紀(jì)英國文學(xué)之大事莫過于英戲的繁榮，先是愛爾蘭戲劇的復(fù)興和蕭伯納經(jīng)典的誕生，之后便是約翰·奧斯本的《憤怒的回顧》譜寫了戲劇史上的神話，也由此揭開了英國戲劇連綿半個世紀(jì)波瀾壯闊的畫卷——阿諾德·威斯克、愛德華·邦德、哈羅德·品特、霍華德·布倫頓、大衛(wèi)·埃德伽、大衛(wèi)·海爾和湯姆·斯托帕特、卡里爾·丘吉爾——由莎氏代表的文藝復(fù)興仿佛看到了可與自己對峙的群峰。透過對四個階段十二位劇作家及作品的介紹和評述，本書作者力圖描摹那發(fā)生在昨天英戲丹青上的跌宕起伏，和讀者一起坐觀云卷去舒，共仰那高過云端的一片燦爛。

書籍目錄

Pre-War British Drama　Chapter 1 Pre-War British Drama　Chapter 2 George Bernard Shaw: Pygmalion　Chapter 3 John Millington Synge: The Tinker's Wedding"New Drama" and the First Wave　Chapter 4 Post-1956 "New Drama" and the First Wave　Chapter 5 John Osborne: Look Back in Anger　Chapter 6 Arnold Wesker: Chicken Soup with Barley　Chapter 7 Edward Bond: Lear　Chapter 8 Harold Pinter: The Dumb WaiterThe Second Wave　Chapter 9 The Second Wave of Post-war British Drama　Chapter 10 Tom Stoppard: Rosencrantz and Guildenstern Are Dead　Chapter 11 Howard Brenten: The Romans in Britain　Chapter 12 David Hare: SkylightWomen Dramatists　Chapter 13 Women Dramatists after 1970s and Alternative heatres　Chapter 14 Caryl Churchill: Vinegar Tom　Chapter 15 Sarah Kane: BlastedSelective Bibiliography

章節(jié)摘錄

　　The play is built on the title character Christy Mahon, a hapless but likeable young man, who thinks he has killed his father in a fight and escapes to a remote part of north Mayo. The local publican, Micheal James, allows him to remain as a potboy to safeguard his daughter, Pegeen Mike, while he attends a wake. Pegeen Mike, an attractive, strong-willed, and quick-tempered young woman, falls in love with Christy, much to the indignation of her cousin and would-be suitor Shawn Keogh. Like Michael Dara in The Shadow of the Glen, Keoghs character, weak, cowardly and in thrall to the Catholic church in the form of the local priest, forms a sharp contrast to Christy as Synges embodiment of the "rampant, double-chinned vulgarity" that he observed on his travels in the west of Ireland. Pegeen Mike draws from Christy the confession that he has killed his father with the blow of "a loy." This news spreads like wildfire among the tightly policed community of the peninsula. Christys romantic tale of parricide makes him a hero among the local women, being pursued not only by Pegeen but also Widow Quin who remains loyal to him to the end. Christys valor at the local sports in winning the horse race on the strand confirms his role as a hero and makes him truly "the playboy of western world." But then, Old Mahon, Christys father, shows up with a bandaged head and exposes him. The villagers give up their embrace of Christy, and turn upon their hero despite his offer to "slay his da" a second time. Pegeen leads them in the effort to bring him to due process of the law. Appalled by seeing Pegeen turn on him, Christy escapes from their clutches and tames his bullying father. Then the father and son wander off together from the stage, leaving Pegeen disappointed and protesting in an agony of "Oh my grief, I re lost him surely. Ive lost the only Playboy of the Western World."　　Even when the play was in rehearsal, Lady Gregory had written to Synge, "I feel we are beginning the fight for our lives." Lady Gregorys anxiety proved to be right. On the night of the plays premiere, at first the audience was receptive, but as the play ran on, they became increasingly uncertain how they should respond to this strange tale of a young man who wandered into a remote Mayo community claiming to have killed his father. And when Christy chased his father outside to kill him again, the darkened air in the theatre suddenly burst： there was bedlam of hisses and yells in the auditorium. Even though police were called, the roit continued until the house and stage lights were put out, silencing the protestors with darkness.

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